SECOND IDOL: Unflinching Post-Punk and the Power of the “F*ck You" Attitude

Sydney's Second Idol is more than just a band; it is a vital, uncompromising force of critique, channeling the dark, daring energy of '90s alternative rock into a modern post-punk framework. The band’s essence is forged in cultural hybridity and a powerful commitment to challenging the status quo, a mission driven by the clear-eyed vision of singer and guitarist Kate Farquharson.

Kate Farquharson's musical origins began far from the aggressive rock stage. She started off loving music in primary and high school by singing as a Soprano in choirs and learning the piano from a young age. This early love of sound was deeply connected to the communal act of music, a primal and emotional experience she describes as a "direct line to the soul."

The shift to alternative rock began in high school when a friend playing guitar made her realize it was "the coolest thing ever." Though she initially struggled after asking her parents for a guitar, her true inspiration struck around age 14 or 15 when she discovered a specific group of rock bands that pushed her to teach herself the instrument and begin writing.

The three artists who had the biggest impact on her formative years were PJ Harvey, Interpol, and Placebo. She was drawn to their emotiveness, darkness, and daring nature. Placebo, in particular, was a profoundly strong influence during her teenage years. As a "closeted baby queer" growing up in a "small minded country town," discovering an artist who challenged gender politics and never shied away from the status quo was "so exciting and a great comfort" to her.

The current iteration of Second Idol has evolved significantly from its beginnings. The project had a bit of a "grungier backstory," having originated as a three-piece. However, over the years, the band has consciously leaned more into a post-punk sound and "re-embraced some love of gothic rock sounds." At the core of every Second Idol song remains Kate’s foundational love of emotive, moody, and crunchy guitar riffs that form the backbone of their music.

The band's current energy reflects the success of their latest single, "Spineless Wonders," which has garnered a fantastic response. This past month has seen them "gigging hard" and playing some truly memorable shows, leaving Kate feeling "equally elated and exhausted." Beyond the band, Kate has taken on the massive, fulfilling role of a co-organizer for Loud Women Fest Australia, an international intersectional feminist music festival that she is helping to bring to Sydney for its debut this year.

Second Idol’s creative process operates via two distinct methods. Most commonly, a song starts with a rough and ready riff that Kate has recorded, along with a vocal idea. She then takes this to the band to be workshopped with pointers for the general direction. Alternatively, songs emerge spontaneously in the rehearsal studio, where someone might be playing something compelling, and Kate will "whip my phone out to record" and then produce a lyrical concept. This process is often kicked off by "thoughts on a concept, some thoughts or a mood."

The stage persona Kate admires and channels is rooted in a compelling blend of danger and defiance. The two artists whose presence she is most inspired by are Alison Mosshart from The Kills and Brian Molko of Placebo. She admires how they both possess a "dangerous yet sexy and alluring edge" that reels the audience in, but crucially, they both maintain that undeniable "‘fuck you’ rock n roll attitude."

The band's experiences on the road have been formative. One of their best gigs to date was supporting The Murder Capital on their debut Australian tour, which provided the joy of performing for a receptive audience and supporting an artist they love.

The worst gigs often involve the kind of marginalisation that fuels their music. One awful time involved being constantly electric shocked by a microphone on stage, making it painful to sing. Another difficult experience was being paired with a poorly matched, mixed-genre line-up that included "a really white boy R&B artist, and a bland all male rock band that tended to sing about their appendages." To add insult to injury, they were then "mainsplained a bit about our instruments."

Looking to the future, their dream opener is clearly defined: Kate believes the entire band would "go batshit crazy if we were to support Nine Inch Nails." If money and reality were no issue, she would be insane not to choose to collaborate with David Bowie.

Their current favourite song to perform live is "Silicone Maggot," the upcoming opening track off their debut album. She calls it a bit of an "epic song" with Smashing Pumpkins and Sonic Youth-esque guitars, making it "super fun" to play. Vocally, she gets to be a bit "nasty and staccato," a style that is a welcome shift from what people have come to expect.

Kate is very open about the struggles of an independent artist, especially one reliant on a single income. She acknowledges the long wait for the upcoming debut album, explaining that "Sitting on this album release has been driving us insane."

The advice that has sustained her is equally blunt and strategic: "Comparison is the thief of all joy," and strategically, "Find your niche and f**k trying to please everyone." The advice to "Play to the people who have showed up and give them the best show you can muster" is a guiding principle. She also champions the strategic advice to "Walk into the room with the confidence of a mediocre white man."

If she could change one thing about the music industry, it would be to have less monopolies holding power, noting that from small stages to stadiums, the industry is being "swallowed up by corporations who are out to make money and not to support working musicians." She also wants to see better and fairer remuneration from streaming, noting the income is "pathetic" unless you are a pop superstar.

She credits the internet for being a "life raft" during her formative years, allowing her to find the music and art that resonated with her, making the world feel bigger than her country town. However, she notes the difficulty in competing with the sheer volume of content and is concerned that the prevalence of AI risks devaluing artists, making genuine connection harder.

The message she wants to share with the fans who supported their $4,000 vinyl crowdfunding campaign is simple: "I really do want to say thank you for your patience! You help make it all possible."

Kate is hard at work prepping for their debut album release (the vinyl crowdfunding helped immensely), which is due out early December. To coincide with the release, they’ll be playing Loud Women Festival Australia in both Sydney and Melbourne. Next year, they will finally be hitting the road for an official album release tour.